The Mother's Nursery Songs

The author of the following pages was one day conversing with a lady of some distinction, relative to the importance of teaching young children to sing, when a question arose—whether any thing could be done by the mother in this respect, during the period of the early infancy of her offspring? This inquiry, with the discussion that ensued, gave rise to the present publication.

Much, no doubt, can be done in early infancy, on the mere principle of imitation. Exercises for this purpose should be exceedingly simple; and, as far as possible, adapted to the infantile capacity. Great originality will hardly be expected in such a work as this: yet the materials here presented are, for the most part, such as have not before been published. A few extracts, have been furnished from the writings of Jane Taylor: And for many of the other little poems, the author is happy to acknowledge his obligations to several literary friends, among whom are the Rev. James Alexander, Professor of Rhetoric in Princeton College, New Jersey, Mrs. Sigourney, of Hartford, Connecticut, well known as the author of occasional pieces of great poetic merit, and Mrs. Brown, of Munson, Massachusetts, the writer of several interesting anonymous hymns now in general circulation.

The object of the work, as will be readily inferred from its special characteristics, is to aid mothers in attuning the voices of their infant offspring, and inspiring them with the love of vocal music. When the Savior was on earth young children cried hosanna: and ere he is again revealed in the glories of the latter day—his praise shall be perfected out of the mouth of babes and sucklings. Yet they must first be instructed; and this work should be commenced by the mother.

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It is a point now universally admitted among practical musicians, that all children, the deaf and dumb excepted, may be taught to sing; and that the difference of natural talent in this respect is, probably, not greater, than in reference to other departments of education. The faculty in question is never truly instinctive, but always in a great measure acquired. Nature furnishes us with organs, and with powers of perception. Cultivation must do the rest.

The fact that so large a portion of the present generation are unable to sing, is not to be attributed to physical deficiencies, but to unfortunate circumstances in the history of early education. In countries where music is continually taught in the primary schools, the children, as a matter of course, all learn to sing: and the same experiment, wherever it has been tried in our own country, has led to the same happy result. This circumstance alone shows the importance of early cultivation. If music is neglected till years of maturity, it will, in the majority of instances, continue to be disregarded through life. Infancy is undoubtedly the most favorable period for commencing the work. The foundation must be laid then if distinguished excellence is ever afterwards to be attained.

Adults, with voices of a most unpromising character imaginable, have sometimes, it is true, been taught to sing. The thing in its nature is not impracticable, but it is very difficult. It requires time and labor and perseverance, such as few, comparatively, are found to possess. But with young children the task is neither difficult nor laborious. The principle chiefly employed in forming the voice is imitation. The child, under favorable circumstances, acquires the management of its voice in singing just as it acquires in speaking the accurate pronunciation of the mother tongue. In both cases it is the imitative pupil of its mother, or nurse. Mothers should think of this, and not neglect to stir up the musical gift that is within them. Though that gift should be small, it might at least suffice to initiate the listening child in the practice of an important art which would afterwards be more successfully prosecuted.

One who wishes to acquire practical skill as a player on a musical instrument, must of necessity begin by drawing forth such tones or executing such passages, as can be mastered with the greatest facility; deferring such as are more difficult to a later period of cultivation. For all the purposes of vocal training, the mother may regard her infant child as such an instrument, not doubting but perseverance will accomplish the desired object.

There is a special season in infancy when children are full of mimickry. Then, a great portion of their daily employment, while in perfect health, is like that of the mocking-bird, to be imitating every pleasant sound that falls within their hearing. Their earliest efforts in this respect will necessarily be rude, but, by constant practice, their talent is found to improve; while, at the same time they acquire an increasing fondness for the exercise. Does not nature evidently point out this period as the precise time for making musical impressions upon the child that will be strong and indelible?

Let no one suppose that the voice is necessarily injured by early cultivation. If the little one is not induced to sing too much or too loud for its general health, there will be nothing to fear. Its voice will improve much in proportion to its practice; and when, in subsequent years, its intonation becomes for a little period broken and discordant, it will be sure to be restored in due time. Every male child, sooner or later, must pass through such a change, as the unavoidable result of physical changes in the structure or conformation of its organs. Daily, moderate practice will be the obvious and certain remedy.

Previous to the period of infantile mimickry above mentioned, the affectionate mother will often have been soothing her child with the voice of song. When that period arrives, let her continue the practice in melodies as simple as those of numbers one and two, in part first of this work. And as the child begins in the smallest degree to play the mimic, let her in turn become the imitator, so far as to seize upon every note which has resemblance to music, and thus encourage the child to repeat its efforts. The mother may thus gradually draw out and form its voice for music, just as she teaches it the articulations of the native tongue. The latter process she well understands. She begins with the simplest syllables only, and as she proceeds with those that are more difficult, the exercise is carefully adapted to the gradual progress of the child. Nothing is forced. Every thing is made pleasant and amusing to the little pupil: and the mother at every step is so amply rewarded for her assiduity, as to feel that her labor is but another name for delightful recreation.

The same course in reference to singing would be rewarded with the same success. Though the mother should be quite ignorant of the simplest principles of the science; her skill in minstrelsy would suffice for the work immediately before her. Let her also frame some simple phrases of melody, that are very similar to those she notices in the mimickry of her child, gradually heightening their character as the child improves its vocal powers. All these exercises perhaps will be inarticulate; and in some cases the child will make more rapid progress in song than in speech.

Of all the articulations that fall from the unpractised lips of infancy, the first and perhaps the sweetest that ever greet the maternal ear, are those of ba, pa, na, ma, ta, da, followed afterwards by their compounds papa, mama, &c. The mother should not fail to set them to music in some such clauses as these that follow

A considerable portion of time, it is true, may elapse, before such clauses as these will be fully understood; and the child perhaps will incline to substitute other clauses in their place, and thus become its own composer. The only important point here, is to see that its tones are rendered musical.

In process of time let the musical passages be augmented somewhat after the following method, observing to sing them in a gutteral and not in a nasal manner:

The process from such passages as these, to such as constitute the first and second lullabys of this collection will be easy: and thenceforward less skill in adaptation will be required.

The preceding directions may suffice for the object before us: if followed with perseverance the child will begin to sing long before it is old enough to understand the rules of the art; and this, much to its own amusement and to the gratification of its affectionate parents. Some may doubt the practicability of the course here recommended; but certainly it is an easy one. Let them be persuaded to try it faithfully and perseveringly, and the author will consent to be responsible for its success.

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As the songs under this head will be employed by the mother, chiefly in soothing her infant to sleep, or in mitigating its sufferings in hours of sickness or distress, it seems not necessary that all the language should be adapted to the infantile capacity. It may suffice that the words contain certain easy syllables or phrases, which, by their perpetual recurrence, make strong impressions upon the ear of the child. The exercise of singing should, however, be so managed as to afford pleasure to the child: for otherwise its taste will be injured.

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The songs of this department are introduced chiefly for children who are just beginning to entertain a few simple ideas and principles relative to things around them. The mother should commence with some of the easiest songs, and afterwards, as she proceeds with the more difficult ones, furnish the words with an occasional comment.

[To be sung by older children.]

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Songs of instruction are not always the most interesting with regard to taste: but there are occasional exceptions against this remark; nor does it apply with the same strictness in regard to young children that it does in reference to adults. Such songs should be associated with pleasant remarks and illustrations; and occasionally with such series of questions as may be suggested by the language which is sung. The songs in this department are adapted to children who have passed the period of prattling infancy.

QUESTIONS.

1. Who made you?
2. Who made the sky, the sun, the moon, and the stars?
3. Who takes care of the birds and feeds them?
4. Does the Lord take care of little children?
5. Does he love them when they are his children?

QUESTIONS.

1. Who built the ark?
2. What was put into it?
3. Was the rest of the world destroyed?
4. For what?
5. Why was the dove sent out, and why did she return?
6. Why is Christ called an ark?

The child may be taught, in connexion with this song, how that "love is the fulfilling of the law"—love that includes all the characteristics mentioned in the gospel. The last stanza introduces also the subject of the blessed Trinity, in such a manner as to invite explanation.

Swiss Air.[9]

• What is a heathen mother?
• What is meant by the sacred current?
• Why does she throw her infant into the river?
• What monsters of the deep seize infants?
• Why is the heathen mother so hard hearted?
• What would make her love her child?
• Would the Bible do her good without reading it?
• What would make its truths touch her heart?
• Why would she then spare her child?

Questions and details relating to the history of Moses, are very profitable and instructive to children. Bible histories, well told, have a powerful influence upon their minds.

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The music found in the preceding pages, may suffice in some measure for training and exercising the voices of young children. Care should be taken that the child pronounces his words with distinctness and precision. The vowels also should be formed in the throat and not in the mouth or nose. The manner of uttering the vowels, is that which gives a pleasant or unpleasant tone of voice to the singer. Properly speaking, we are never to sing the consonants, but to articulate them instantly, much as in speech, though louder and with greater precision. We sing only the vowels, and hence our manner of treating them is almost the only circumstance that gives sweetness and polish to the voice.

The music which here follows, is not intended for drilling exercises. The little songs or hymns are strictly devotional; and should as far as practicable, be accompanied with devotional associations of thought and feeling. This is a principle of unspeakable importance; and one that ought every where to pervade the cultivation of devotional song.

THE TEMPEST.

Obvious typographical errors were repaired, as listed below. Other apparent archaic spellings, inconsistencies or errors have been retained.

Please note that some of the songs have incorrect or mismatched time signatures or beats in the bar. These have been retained in the images but have been silently altered in the midi representations of the music using the set musical patterns as a guide. Please note that the tempi in the transcriptions are guidelines, and should be adjusted to suit the reader's purpose.

Included PNGs were created from scans from the original pages of the book.

Page 27, "litle" has been changed to "little". (Come, drive that long sob from your dear little breast,...)

Page 28, "willl" has been changed to "will". (The winter is coming, then what will you eat?)

Page 30, "thy" changed to "they". (... and off they fly.)

Page 32, "wont" changed to "won't". (Why won't he be kinder,...)

Page 33, "unwholsome" changed to "unwholesome". (They are unwholesome too,...)

Page 52, "A A, C" changed to "A, B, C" for consistency. (I See nothing but A, B, C.)

Page 57, "ope'ning" changed to "opening". (Its opening leaves disclos'd to view)

Page 58, "." changed to ",". (By the side of a river so clear,...)

Page 70, the figures of dotted sixteenths with thirty-second notes have been adjusted in the transcription to dotted eighths with sixteenth notes.